SuperVesey - A RHT Interview

This is the first of several interviews with our esteemed Rock Hard Times Contributors, or in this case just leave out the "esteemed" in the interest of accuracy. Anyway, let's get to know SuperVesey, he of the right-wing leanings and oddball tendencies (see photo).

RHT: Where did you grow up? Small town? Big city? Underground bunker?
SV: Hailing from the outskirts of Rainsboro, Ohio - I grew up on the mean streets of the Rocky Fork Lake Estates.

RHT: What's the first record you ever bought? Listened to?
SV: The first record I ever listened to (and knew there was definitely something different going on) - was AC/DC's "Highway to Hell" - even the cover of that album was scary. Remember the horns coming out of his head?? Plus it had the word "hell" in the title! Welcome to Rock and Roll. It was my older brother's and I had to sneak to play the record. First album purchase - Twisted Sister - "Stay Hungry". I'm pretty sure my parents thought I was somewhat retarded from that point on. (Editor's Note: They were correct.)

RHT: What record, early in your life, had the biggest impact?
SV: While I wouldn't consider it an album so much as an experience - the 1980's R.E.M. catalog opened my mind to great diversity in music. See Shoe influence.

RHT: Thank ya kindly. Moving on, where did you go to high school? College?
SV: Edward Lee McClain High School - Class of 1994, Ohio University/Wilmington College, Troy State, University of Dayton - anyone want to trade me student loans?

RHT: What do you do for fun aside from listening to music?
SV: Rock with Filo Beddoe, and sadistically torture myself going to Bengals games. (Editor's Note, Pt. II: SuperVesey plays the keys for Highland County supergroup Filo Beddoe.)

RHT: What do you do for a living? Held any weird jobs in your past?
SV: I educate the youth of America at Lynchburg-Clay Middle School, I also once worked as a campaign manager for a Congressional candidate (who also won thanks to my guidance).

RHT: Any life-changing moments growing up?
SV: Her name was Heather Thomas and she was on a show called The Fall Guy. I can still see her in that hot tub.

RHT: What was the most interesting trip you have ever taken?
SV: I try to steer clear of drugs.

RHT: Anything else we need to know?
SV: I have touched the Titanic, played music on the radio, rode "The Dragon", and restored a grand piano.

RHT: Anything else you'd like to add before we let you go?
SV: If I was any more conservative, I'd be Carl Rove.

Stay tuned for out next interview with a RHT contributor. I promise we cover the entire political spectrum here at RHT Headquarters. It's all a part of life's rich pageant ya know.

The Transformation of a Kid - February 1964

Let me tell you story, my RHT children. 'Twas way back in the winter of ’64, and my music world consisted of listening to the likes of Bobby Vinton, Gene Pitney, Bobby Vee, Paul Anka, yes, even Andy Williams. Hell, we didn’t even have much Elvis in the house. My sister Karen had some Elvis soundtracks but even The King was way too controversial for Bourneville, Ohio at the time. Mom and Dad had some Dean Martin stuff I could throw on the turntable, if that clarifies my situation at all. I was 8-years old but listened to music as often as I could. I was too young to buy 45s, so I was dependent on whatever was brought home by Mom & Dad or my two older sisters. Bleak times indeed. Those times had become bleaker in November of ’63 when my 2nd grade teacher walked in the room to tell us that JFK, a man who I’d passed out flyers for around the county with my strongly democratic family, had been blown away in Dallas. I was shaken, even at my young age. Seeing your dad cry for the first time will do that to you. With the country knocked down to one knee, everyone certainly needed a wake-up call. I, and everybody else, got one in February.

I’d heard rumblings of something strange going on. My older sister Karen, the rebel in the family, had whispered to me the news of a new band. Not one guy like Elvis or Bobby Darin, but rather four guys who all sang and played instruments. Hell, rumor had it that they even wrote their own songs. Outrageous. Trust me, at the time it was mind-boggling. Then one day it happened. Good old Sis, corrupting as ever, brings home a new record– “Introducing the Beatles.” She insisted that I give it a listen, and when Paul McCartney began counting “one, two, three, four . . .” as an introduction to “I Saw Her Standing There” life as I’d known it was over. What the hell was THIS?

I know it’s hard for anyone under 50 to understand, but this was something w-a-y different. The music was melodic, infectious . . . completely new. The guitars, the voices, the harmonies, everything was totally unique to me and millions of others. Again, it’s hard for anyone born later to grasp how dramatic this shift was. The Beatles music just set off a spark in my soul that has never been extinguished. Anyway, I think I played “I Saw Her Standing There” at least 10 times before moving the needle to the next song. I just couldn’t believe my ears. By the time I got to the last song, “Twist and Shout” it must have been hours later. Although it was my sister’s record, between her and I we probably wore the grooves almost completely through the vinyl. Later that day, when dad got home from work, I heard words for the first time that would be repeated thousands of times over the years . . . “TURN IT DOWN!” Heh-heh. I knew I was onto something.

I can never explain to you the feelings I felt on that day in February of 1964, but I know I’ll never forget it. Still, if you would indulge me, first try to imagine being 8-years old. All you’d ever heard was this, this, and stuff like this. Now, along comes THIS. Any clearer now?

From that point onward it was The Beatles who defined everything musically to me. I couldn’t wait for the next single, the next album, the next TV appearance. They covered so much ground in their short existence that, although they tried, no other group could keep up. From “Introducing the Beatles” and “Meet the Beatles” all the way through to “Let It Be” and “Abbey Road”, The Beatles provided the soundtrack of my youth. Hell, they’re still the soundtrack today, always playing in the background somewhere. And to think it all started, at least for me, in a small living room in Bourneville, Ohio, in the winter of 1964.

Thanks Sis.

The Enigma That Is Ryan Adams

Singer. Song-writer. Performer. Juvenile. That pretty much sums up what I know of Ryan (Don't Call Me Bryan) Adams. He is a wonderfully gifted musician. His lyrics, while sometimes very personal, cut to the bone. He also carries on a tempestuous relationship with just about anyone that will joust with him; including critics, fans, & record labels. While this behavior should not prevent anyone from giving his material a solid listen, it does place barriers in Adams' way as far as scoring more mainstream success.

Ryan Adams is another one of those artists that can't be defined by genre. "Alternative Country" is one of those labels given frequently, but if you've read my previous posts you know where those labels can be unceremoniously placed. Adams is a very solid acoustic & electric guitarist, plays the harmonica Dylan-style, and has a very soothing voice. He's been influenced by artists from Patsy Cline to Husker Du. You can tell he makes music from within, which is very underappreciated in the times in which we live. What gets Adams introuble is that his impetuous personality has driven his career to the point where he no longer has a record deal. Adams tours & records with his backing band, The Cardinals, and also contributes to various other projects, most notably Willie Nelson's 2006 Songbird. He's dated Parker Posey & Mandy Moore. He's done the whole drug rehab thing. He paints & writes poetry. Interesting guy...

I was given a couple of CD's a few years ago by my sister (this seems to be a recurring theme for some RHT contributors) who lives in Knoxville, TN. I'll admit, at first I was skeptical - I like to keep the "emo" out of my music as much as possible. But I gave it a try on vacation down in southern North Carolina (Jacksonville, NC is Adams' hometown, ironically enough) and fell in love with it. Much of his catalog is either "over my head" if you were asking Adams, or simply self-ingratiating if you ask me...but nonetheless I have found a good-sized body of his work to wrap my ears around. Some of my favorites include "Come Pick Me Up," "English Girls Approximately," "Burning Photographs," "Hallelujah," and "Two."

What really caught my ear though was a bootleg of Adams' 7.25.06 show in Knoxville from my sister, who was also in attendance. Adams was currently embroiled in one of many battles with his record company, and the show ended abruply as the UT crowd started shouting requests mixed with insults at the stage. In posterity, what was left was a fantastic set of songs that includes "Trains," "He's Gone," "Blue Hotel" (written for Nelson), a raucous "Shakedown on 9th Street," and a "dead-on" version of the Grateful Dead classic "Franklin's Tower." Note: Adams performed on several occasions with Dead Man Phil Lesh in 2006.

Well, there you have it. Ryans Adams: talented yet troubled. But who am I to call someone else "troubled?" One man's troubles are another's tribulations. What he is is true to himself, no matter how conflicting those inner voices are. That also seems to have hurt his career. There I go again, who am I to say that either? Maybe that's the way he wants it? Anyway, hurry back Ryan. And don't suck...

Something/Anything? - Rundgren's Magnum Opus

For those of you who are unaware, Todd Rundgren is one of the most underrated, underappreciated, and generally unknown to the mainstream musicians of the rock era (click on his name to see his amazing self-maintained website). He began his career as the leader of Nazz (they had 3 albums entitled Nazz, Nazz Nazz and Nazz III – Todd evidently cared little about catchy album titles), and he later recorded under the name of Runt. An accomplished musician, Rundgren can play virtually every instrument. His style really can’t be classified, but it’s been said that his early 70’s stuff was an early form of power pop that was profoundly influenced by soul music and 60s rock, especially The Beatles and The Beach Boys. His music also featured sophisticated chord progressions unlike most songwriters of his day, or today for that matter. He sometimes demonstrated an interest in other genres as well, such as hard rock, progressive rock and experimental music. In other words Rundgren is all over the charts musically. In the mid 70s he fronted another group on the side called Utopia that was more of an anthemic, progressive rock type of band. Rundgren is well-known in the biz as a great producer as well, having produced albums for Badfinger, The New York Dolls, Grand Funk, Meat Loaf (“Bat Out of Hell” no less), Cheap Trick, The Band, and scores of others. And oh yeah, his music video for “Time Heals” was one of the first to air on MTV. Suffice to say the cat’s been on the cutting edge of rock music for quite some time. If I haven’t snagged your attention yet, young fellas, maybe this will do it - Todd also produced music for both Pee Wee’s Playhouse and the movie Dumb and Dumber. Oh yeah, so NOW he’s cool, right?

Anyway, I tell you that to get to this – Rundgren’s 1972 masterpiece, Something/Anything? is simply one of the greatest albums in history. It’s a double album, and it came with some of the coolest liner notes I can remember. Liner notes are a thing of the past in this day and age of digital downloading, but trust me when I say there was nothing better than peeling the wrapper off a double album, opening it up like a book, and reading all the informational tidbits contained therein. It’s hard to get the same vibe with those digital "interactive booklets” that come with iTune album purchases, ya know?

On Something/Anything? Rundgren played every instrument on the first three sides. The fourth side was something entirely different but I’ll get to that shortly. The album contains a wide variety of music, from the pop musings of “Hello It’s Me” and “I Saw the Light” to the rockin’ “Some Folks is Even Whiter Than Me”, “Slut”, and “Wolfman Jack.” Throw in the whimsical “Piss Aaron” and the raunchy “You Left Me Sore” and this album’s got it all. The real treat for me, however, was the aforementioned side four. It consists of seven songs that were done live in studio, complete with false starts, goofing between songs, laughter, and general insanity. Imagine you’re sitting in the corner for 30-minutes listening to Rundgren and the band jam away. That’s what I did on many a cool summer night in the summer of ’72 and ofttimes since. Believe me when I say that it’s a must-listen for any true rock music aficionado.

Something/Anything? was ranked #173 on Rock’s Greatest All-Time Albums by Rolling Stone magazine. In my opinion they missed the mark by about 150 spots. With its mix of beautiful pop confection, pristine production, lighthearted sense of humor, live in-studio spontaneity, and flat-out rock and roll, this album has everything you need in one beautifully crafted musical masterpiece.

Shoe Note: I was casually walking through City Center in C-Bus a few years ago when I literally ran into the man himself. My hands flew to my face as I yelled, “TODD RUNDGREN!” Immediately his hands flew to his face as he responded, “YES!” Bastard was mocking me. After a couple minutes of my blathering on about his music and what it meant to me and him realizing not only that I wasn’t a lunatic but I in fact knew what I was talking about, we had quite the in-depth conversation about the state of music in general. Nice life-moment for me I must admit.

Your Second Album Will Probably Ruin My Life.

Guys. Ok. Imagine this. You go out on a first date with a girl. She's beautiful, near perfect looks. She shows up to your place and notices your Springsteen poster(s....), and then tells you that yes! she too, loves Springsteen! and her favorite record is The Wild, The Innocent, And The E Street Shuffle! Her favorite member of The Clash is not Joe Strummer, but Mick Jones...which she proves by showing you the Big Audio Dynamite t-shirt that she is currently wearing. She knows that Lindsey Buckingham is actually a man (Ok, so this is my fantasy, but since I'm writing this, you'll have to get your own.), and can quote every line in High Fidelity (but she doesn't, as she knows this would be annoying. She just wants you to know that she could if she wanted to.)

After dinner, you offer a movie. Instead, she says: "Well, that would be cool, but why don't we buy some keyboards and have a jam session in which we play all of the songs that made Journey one of the most popular bands of the 80's instead?"

You go home after this date, and thank the Lord that such a woman exists.

On your second date, you notice that she's different. She's still decent looking, but has toned it down a notch. She changes her favorite Springsteen album to The Ghost of Tom Joad, and tells you that she thought that you meant the Mick Jones from Foreigner. Her sound is different, a little less awesome, a little more annoying. And while watching High Fidelity, she DOES quote every line, driving you insane. At the end of the night, she tells you that she actually has to get home to her children and 15 cats.

You go home after this date feeling cheated, wronged, and hurt. That's how I felt after hearing Bloc Party's last album.

I saw Bloc Party in Arizona in like 2005. They were new, people seemed to like them, and I wanted to see what all the fuss was about. I was under moved at first, as they dragged through the first 4 songs. Then (frontman) Kele Okereke meekly walks up to the mic and, in a fantastic English accent states: "Well, this next song is a f*****g banger", at which point he and his mates launched into Banquet. That was the point at which you would have had to lift my jaw from the ground. I had seen the future of rock and roll, and it's name was Bloc Party. When the album (Silent Alarm) was released, I bought a copy, wore it out, and took someone else's copy. I was convinced that they would be huge, and that this was the best new band and rock album since at least 2001 (it wasn't better than the first Strokes record...The Strokes also fit into where I'm going with this. Bear with me.), and I was hooked.

Then, a few years pass, I buy the stupid remix album, just because I wanted to still hold on to a little bit of Bloc Party until they released a proper second album. When the second album (Weekend In The City) came out, I called my friends in Arizona who were as blown away as I was by BP. But when I asked what they thought of the new album, the tone in their voices said it all. Dry, flat, unexcited "yeah...I heard the album. It's.....well, it's ok I guess..."

I knew the sophomore slump had struck again. I listened to the album, just to confirm what I had already known. Bloc Party couldn't avoid it.

Look, I know I may be a little hard on second albums, but think about it. How many sophomore albums do you just LOVE? In Utero doesn't count as a Sophomore album, Nirvana fans...but I didn't even like that album (despite the fact that Cobain opens the album with the line "Teenage angst has paid off well"...genius). It's gotten to the point where you can break it down into categories. There's a band like Cartel, who you're expecting a horrible second album from because they overachieved on their debut. Cartel did nothing new on their first album. Big voiced singer, catchy hooks, etc. But, while listening to their first album in 2006 with my friend John, he remarked: "These guys won't even be around next year"...and here we are. Cartel had no chance, and sure enough released a second album that was a joke. Then there's the bands who you know in the back of your mind just slipped up. They had a great debut, and then got ideas above their station. They still put out a respectable first single to get you excited for the second album, but then you quickly learn that the single is one of about 3 good songs on the album. Recent bands in this category are the Yeah Yeah Yeahs and The Killers. Sam's Town was pretty bad, yeah...but you get the feeling that the Killers will be OK. We all need to grow hilarious facial hair and rip off Springsteen vocals every now and then. The question of the latter is how will a band recover from their sophomore slump. Or CAN they recover. The Strokes used to be the (so-called) future of rock. But, after one of the best debut albums of all time, they put out a fair to below average second album, never recovered, and now they think they're the Velvet Underground. And remember when Taking Back Sunday was good? No? you don't?

The Sex Pistols, Boxcar Racer...those guys had it figured out. You make one good album, and then call it quits. Hell, the Pistols are in the Hall of Fame. Off of one album! (And a TON of influence, but that's not the point I'm making...). Imagine how great we would think Liz Phair was if all we had to remember her by was Exile in Guyville. She'd be like some kind of indie rock legend of Joni Mitchell proportions. Now she's just one step away from writing commercial jingles. Everyone should just make one album from here on out. That's it. I don't care if you've got more to express, you've got 16 tracks to hit your peak.

No, seriously. Bloc Party will probably be fine. Banquet is still one of the best songs of the past decade, and for every horrible 2nd album, there's a classic one (the aforementioned Wild, Innocent, and E Street Shuffle....), but I'll say this. The day when I form my super synth-pop band, you're only getting one album out of me. That's it. Then I'm going to disband the duo and become Bloc Party's producer. Someone's gotta right the ship.

Oh, and if anyone knows a woman as described in the first paragraph, let me know. We've got to look out for each other.

Josh Homme: The Chuck Norris Of Rock & Roll

Josh Homme is a bad mutha-(shutchyo' mouth!). I've been saving this topic but it's time to play my trump card in light of Hutch's last post. All the formulaic B.S. in today's music has not touched this man, Josh Homme. The founder of Queens Of The Stone Age still has the rock scene on its back, waiting for a belly rub. The damn shame is anyone looking for quality like Homme's various projects has to look under rocks to find it. It's at least comforting listeners like myself have educated themselves on where to go to find good music (XM Radio, youtube, etc.) because you sure as hell aren't going to find it on the "machine" Hutch referred to (MTV, VH1, etc.) . Thank God for ipods...

Josh Homme started his first band, Kyuss, at the age of 15 in 1988 as lead guitarist. By the time the band got much of a following grunge had erupted & the band called it quits in 1995 after trying to run parallel with the Seattle scene. Kyuss was a desert "generator" band from the So. Cal & found acceptance hard to come by as Nirvana, Pearl Jam, & Soundgarden dominated the early 90's scene. Homme considered quitting music, but stayed true to his roots tinkering with his first of many side projects know as the Desert Sessions. Spawning from these experimental jam sessions that actually took place out in the middle of the desert was Queens Of The Stone Age and later on Eagles Of Death Metal.

Queens Of The Stone Age kicked off a string of widely acclaimed albums in 1998. "Queens Of The Stone Age," "R," "Songs For The Deaf," "Lullabies To Paralyze," & "Era Vulgaris" make up a now formidable catalog of music Homme has tailored to his own tastes - a little less dark than Kyuss, a little less happy than EODM, but altogether hard-driving, rump-shaking rock & roll that sounds better the louder it's played. Homme states in an interview that "music is a pleasure device. It's as selfish an activity to make it as it is to enjoy." That's how it ought to be, not seeking approval from a trio of twits like American Idol. QOTSA has an ever-evolving lineup that has included grat musicians such as Nick Oliveri, Mark Lannegan, Troy van Leeuwen, Joey Castillo, & the even the great Dave Grohl at home on the drums and has made their mark through great musicianship & live performances. Now on to the really good stuff...

...Eagles of Death Metal is the vision of Homme & fellow Desert Sessioneer Jesse "The Devil" Hughes. Overtly & decadently (is that a word Mr. Webster?) chauvinistic, EODM is the band every heterosexual male dreams about being in. Hughes is on guitar & vocals while Homme (aka Carlo VanSexron or Baby Duck) plays the drums for EODM while not touring with QOTSA. All you need to do is listen to the lyrics or catch a video - these guys are the coolest cats around. Paula Abdul would not be able to keep her clothes on, let alone vote EODM off of Idol. A guilty pleasure for Homme this project must be without a doubt - but this is what starting a rock & roll band is all about, am I not right?

You can not categorize the music of Josh Homme. Everything I read links him to "stoner rock" or "stoner metal" - whatever the hell that means. I don't smoke dope and I like his work just fine. Kyuss maybe I can see, but QOTSA & EODM have their own distinct styles even. It is what it is, and it ain't getting played on the radio or television unless you catch a late night performance (or a commercial or two - EODM has several advertisers using their music). And basically, if you don't like it that's OK too, just stay out of Homme's face about it or you might get a Chuck Norris roundhouse kick to the back of your head. Hear that, Simon Cowell...you f'ing pig?

“Rock and Roll is dead, Rock and Roll is dead”-- Jim Morrison

As a child of the 80’s I have witnessed first hand the slow agonizing death of rock music. The days of originality and substance have started to fade away and what we’ve been left with is an industry built on looks and fabrication. Am I wrong to say that most of the new bands of today seem like they have been built in a factory and all from the same mold. What happen to doing things your way and not letting someone else tell you how to dress, how to play and what songs to sing. Don’t get me wrong, I know there is still a hand full of bands out there that break the rules but would we ever see these bands on T.V.? Probably not!!!

I think Mtv nailed it years ago with the release of their first video called “Video Killed The Radio Star” by The Buggles. After that, rock music has turned into a runway for supermodels and the days of stars built on talent and not looks came to a crashing end. Do you think Janis Joplin would have made it in today’s music industry? How about the other musicians from the 60’s and 70’s that could absolutely blow the roof off the building with their vocals, but would probably crack the mirror if ever placed in front of one? Even the bands that established themselves years ago feel the pressure of our growing thin society. Ann Wilson is one of the best female vocalists ever placed in front of a mic, but her weight issues have made her reluctant over the years to go back on tour with Heart. I’m glad to see that she is finally back out there sticking it to the man.

Now my second lash at the current music industry. American Idol. I’m sorry, but this is some of the biggest crap ever put on television. Yeah, most of the people on there are nice to look at, but I wouldn’t pay to hear them sing. This show is Karaoke at it’s finest. How about letting these kids sing songs that they want to sing and not a night of Barry Manilow? Even the ones on there that have talent are forced to sing crap week after week. Come on people, Taylor Hicks over Chris Daughtry, give me a break. Then you have the three judges or should I say the Three Stooges. It’s one thing to tell these kids that they are bad night after night if you have some credibility, but I don’t think “Vibology” and “Opposites Attract” make you an expert in music. And where in the Hell is Paula getting her drugs? She says the same thing every night and none of it makes any sense whatsoever. The only one that gets it right on there is Simon. I don’t know where he teleported from, but he at least tells these kids what they need to work on, not constantly telling them they are great like Paula and Randy.

Mtv killed the radio star and Simon Cowell and American Idol threw it in a coffin and buried it 6 feet under! Lets’ bring back the substance of Rock & Roll before it turns into a total machine like Jim Morrison predicted almost 40 years ago.

The Best American Punk Rock Band Ever Is Playing Dead.

Sleater-Kinney broke up just about 2 years ago, and I remember where I was when I heard the news. This was like my Beatles break up moment. Obviously, I'm not comparing the two bands, but...maybe to their respective genre', S-K were the Beatles. I don't have many "I remember the first time I heard (insert artist)" moments. I remember when I first heard The Chronic. My brother bought the cassette tape home when I was 9, and I promptly stole it the next morning and skipped school to listen to it (Proof that rap music is evil, and makes you do bad things.)...I, like everyone else in my generation, remembers the first time I heard Nirvana. Some girl who I was trying way hard to impress in middle school put on "Come As You Are" in her basement after school one afternoon. My attempts to make out ceased (although, you will all be pleased to know, I did succeed much later in life. Score one for me...in honor of Kurt, of course), and I listened to Nevermind for 3 hours straight.

And I remember when I first heard Sleater-Kinney. About 2000, when I was a senior in high school, my sister was leaving for Madison, Wisconsin. My sister had, and still has supreme taste in music. She's a snob for the sake of being a snob. So, she slipped me a CD and said "You HAVE to hear this"...so I took a long drive (of course when the price of gas was still reasonable...) and played the album, which was 1999's All Hands On The Bad One. I thought it was noise! just terrible! the screeching! the guitars! it's like a crappy version of Sonic Youth fronted by some kind of banshee!

But, it held my interest just long enough for me to pick up another album ('97's Call The Doctor), at which point I REALLY heard S-K for the first time. "I Wanna Be Your Joey Ramone" was pretty much everything I'd been looking for in a punk rock(ish) song since, well...forever. I didn't even know what the rest of that album sounded like for about a month, because I couldn't get past that song. After that, I was hooked. I got every S-K album that ever came out, and side projects (Quasi, Cadallaca, Heavens to Betsy) just to hear the wail of Corin Tuckers voice, or the growl of Carrie Brownstien's guitar.

**Bold Statement Alert** Not to take anything away from The Ramones, Black Flag, X, or any other band, but Sleater-Kinney is, to me, the greatest American punk rock band ever. In their purest form they weren't post-grunge, or riot grrrl, or any other phrase to try to seperate them from what they truly were: A really loud, aggressive punk rock band. They got their fair share of resentment from people, because it seemed like they were critically acclaimed just for the sake of critical acclaim, but I think they were just THAT good. And unlike the aforementioned bands (and countless other punk bands), they didn't let that scene define them. Therefore, the scene couldn't destroy them.

I guess what destroyed them eventually, after 12 years seemed to be what they tried to avoid for those 12 years. The fact that as women, they were different, and wanted different things. Corin wanted a family, to have kids, settle down, etc. And Janet just wanted to play loud music. Those two things just stopped seeming to go hand in hand.

My sister is the one who broke the news to me when they broke up. And I detected the sorrow in her voice. Her connection to them was deeper, because she felt like they spoke directly to her. When I got the news, I sat back and thought "Man, all of the bands I love break up..." (weeks later, as if proving this point further, Pretty Girls Make Graves also disbanded), and then I fought with the decision of whether or not I wanted to go see them on their farewell tour. I opted not too. Too much attached to those types of things. I was at a small, local concert recently, and a guy did a cover of "Modern Girl" (off of their final album, The Woods), and it impressed me most that he kept the gender of the song proper (instead of, like most people, changing "girl" to "guy" or some other ridiculous thing), because I think Sleater-Kinney fought hard to not only be equal and recognized in the eyes of their male counterparts, but also to speak to men as well. Punk rock is nothing if not all inclusive.

I was in the same room as Corin Tucker once. I didn't know it, I was in some coffee shop in Olympia, Washington with some friends, and she walked out while I was at the counter ordering. The girl behind the counter informed me of her presence, and I used every ounce of restraint in myself to not run after her. Sadly, her solo stuff is pretty much a joke. I could be saying that just because it's not S-K, and I have bitterness (I hated all of the solo Fugees albums at first after they, another group I loved, broke up), but I worry that I'll never have a moment again where I remember hearing a new band the same way I heard Nirvana, or Sleater-Kinney.

Finally, if you have no idea who Sleater-Kinney is....listen to them, and despite me probably over hyping them, I think you'll enjoy them.

The Best Band You've Never Heard - The Legendary Hoodoo Gurus

We've all listened to bands over the years that none of our friends knew about, right? You know, the bands that you really liked and couldn't figure out why they'd never made it big. Well, the #1 band in that category for me is undoubtedly The Hoodoo Gurus. I first bought a Gurus tape back in the mid-80's at a little record store on High Street in Columbus. I was with Goose and I basically just made a blind purchase. I don't know if it was the band name or the album cover that caught my eye, but I grabbed "Mars Needs Guitars" and was hooked. Thus began my 20+ year love affair with The Gurus.

The Hoodoo Gurus are a band out of Australia, home of Midnight Oil, AC/DC, and INXS among others. They formed in '81 in Sydney and are led by Dave Faulkner who sings lead and plays guitar. His vocals are very distinctive as you will see when you hear the guy. See when you hear the guy. Does that even sound right? Anyway, Faulkner was joined by Richard Grossman
(bass), Brad Shepherd (guitar, vocals), and Mark Kingsmill (drums). The Gurus actually achieved some cult status in the states in the late '80's to early '90's, but nothing to speak of although they were obviously more popular on the college circuit than the backwater burgs like Bainbridge or Buford. That said, I hear they achieved some measure of exposure at a small school off of Route 50 in Highland County around 1989 to 1991.

The Gurus style is based on straight ahead rock 'n' roll, no doubt about it. From 1960s power pop to garage punk to hard driving rock and funky psychedelic kitsch their music pretty much covers the spectrum. The kicker for me though, as always, is the hook. Gotta have the hook in my opinion, and the Gurus deliver them in abundance. They also are a lyrically intelligent group who invariably bring a smile to my face whenever I hear them.

Back when Kip was about 3-years old, we were listening to The Beatles in the car, just driving along enjoying the vibe (yes, Kip enjoyed the music vibe when he was 3). He informed me
that he really liked The Beatles. Curious, I asked him why. His answer was beautiful in it's honesty and simplicity. "Their music makes me happy" he said. For me, the same goes for the music of The Hoodoo Gurus.

So, if you want to hear some good old-fashioned rock 'n' roll peppered with a dash of wit, catchy hooks, jangly guitars, and some occasional scathing social commentary, The Gurus are for you.

In 2007, The Hoodoo Gurus were inducted into the Australian Rock 'n' Roll Hall of Fame. They'll never make it to the hall in Cleveland, but that doesn't mean they don't deserve it.

Check out their website here or listen to some songs here. If anybody wants a mix, I have their
entire catalog and will burn you what you need. I'm always happy to spread the legend of The Hoodoo Gurus. If you just want to pick up a CD for a taste I highly recommend 1991's "Kinky." You may also click on the little widget on the right-hand column of RHT for some vids.

You won't be disappointed.

VHS or Beta

so i was in chicago this weekend visiting my girlfriend (who does have amazing musical taste) and we decide to catch a show after the cubs game.. we were browsing the paper the day before and i saw that VHS or Beta was playing.. i've missed them a couple times when they're gone thru ohio but always wanted to check them out.. i bought their cd "night on fire" a couple years ago after reading an article about them online.. their single "night on fire" is great... it sounds very 80's, kind of depeche mood-ish... driving drum beat, kickass bass/guitar breakdown toward the end, synths all over.. the rest of the cd is in similar vein so i thought a live show would rock..

boy were we right.!. this show was killer.. the venue, Empty Bottle, reminded me of the grog shop in cleveland.. just a dive bar with an elevated stage in the corner.. tons of drawings on the walls, random photos of bands past, dimly lit.. it did have a photo booth which is a classic addition to dive bars.. we got there early b/c the show was sold out.. they released a few tix and we were in.. i went straight to the sound guy, i mean sound girl, who informed us we were in for a sweet set.. the equip they had there was pretty top notched actually and she said it would be thumping..

the opening band Tiger City, blew me away.. not sure where they were from but they were in a similar vein to vhs or beta.. constant grooves, a few synth here and there, mixed in with some pre-recorded beats.. the singer was weird as hell to watch though.. he'd just wander back and forth, holding his mic up like it was on fire, like he just wanted to drop it.. beyond that, he sang most of the show in falsetto that was actually good.. their drummer never stopped and had his cymbals so high up in the air, i swear to god he had to come off his seat to hit em..i will be checking this band out for sure.. i descibe their sound as dance-funk-rock.... kind of in your face but it gets your ass shaking a little bit.. (and the sound girl had it rocking as promised)

VHS or Beta came on to a packed, enthusiastic crowd, thanks in part to Tiger City.. i was hopped up on tequila and red stripe so i'm amazed i can recall half this shit.. from the first song, the laid it all out.. it was kind of like 80's dance music, but set to current alternative voicings.. the bass player played an old fender precision out of a huge ampeg fridge.. both guitarist played gibsons most of the time.. the singer looks a bit like james iha from the smashing pumpkins..

i'm rambling a bit.. my word to you all is to check these bands out.. i know VHS or Beta just came out with a new cd recently, "Bring on the Comets" that i will be picking up.. if you get the chance to catch them in a small venue or at a festival, it's totally worth it..

and shoe, i took zero cell phone pics!! not that i'm a picture taker anyway!

ez

Classic Albums: Beastie Boys "Licensed to Ill"

1986 - Run D.M.C. & Steven Tyler & Joe Perry of Aerosmith had just shocked the world by collaborating on a remake of Aerosmith's 1977 "Walk This Way." A whole nation was stunned. Rap & rock - can it co-exist? Well, in case you needed further proof Def Jam followed up with...The Beastie Boys. Mike D, AdRock, & MCA - 3 white, former punk-rockers turned rappers on a lark brought us Licensed To Ill, produced by genius-in-the-making Rick Rubin. Was this just an attempt by Def Jam boss Russell Simmons to rule the world by taking some white guys & turning them into rappers? Maybe. He had seemingly crushed Run D.M.C.'s street cred with the Aerosmith pairing. Run D.M.C.'s career began to fade while Aerosmith went on to enjoy their renewed fame with the kids & their wallets. How was Simmons going to get his like Aerosmith got theirs? The answer: sampling.

While not a new idea to the hip-hop community, sampling in the early 80's mainly was reserved for dance tracks to lay down a bass groove or a hook. But since Run D.M.C. had gotten the white kids' attention now, Simmons & Rubin moved in for the kill. Licensed to Ill is an incredibly sample-laden record, but it caught the white kids' ear by including samples of Led Zeppelin, Black Sabbath, & The Clash. Kerry King of Slayer (whom Rubin also produced) laid down the crunching guitar track for the classic "No Sleep till Brooklyn."

Then, you have the lyrics. Oh, the lyrics!! Sophomoric? Certainly. What a 14-year-old (such as myself in 1986) wants to hear? You betcha. Where else are you going to learn what other uses there are for a wiffle-ball bat? Al Gore had not invented the internet yet. Did I have a right to party? As a freshman in high school I supposed maybe I ought to explore that logic. What was Brass Monkey & why was it funky? The possibilities were endless. Ali Baba & The Forty Thieves - huh? Plus, I had leaned a whole new vocabulary by the time I'd listened to the record a few times. My parents were not impressed. But that is...so...rock...and...roll! Chill mom, don't be illin' & get fly wit wazzup...

What Licensed To Ill meant to me was that it gave me ammunition as I entered high school. You could fit in with anyone if you knew the Beastie Boys. The beats & bass were cool enough for the hip-hop crowd to dance to. The lyrical content was right on par with lockerrom topics in the jock community, which also made it acceptable satirical commentary for the intellectual bunch. The stoners appreciated that they'd been included with the Zeppelin riffs. This was a genius album by The Beastie Boys, Rick Rubin, & Russell Simmons. Right time, right place. You can't lose if you know the Beasties. Damn skippy. It's "poser proof." Unless, you went down the fork in the road that led to Vanilla Ice. Or the other fork that has potholes like Limp Bizkit. Stick to the Beastie Boys if you need a hip-hop fix. Snoop & Dre will do in a pinch.

Historically, Licensed To Ill became the first Rap LP to climb to #1 on Billboard's Pop Album Chart. It also started a long & successful career for the three Beasties, which is quite unusual in this genre. They've been able to experiment while pushing the contemporary edge with other landmark albums such as Paul's Boutique, Check Your Head, & Ill Communication. Their music videos are among the most innovative of all time. They've grown up a bit & taken on social causes such as the situation in Tibet, but they've never lost their sense of humor. In 2007 the Beastie Boys were nominated for induction into The Rock & Roll Hall Of Fame.

Just because they're "all for one & one for all, taking out MC's with a big shot gun" the Beastie Boys still rock 22 years later. "Like a lemon to a lime & a lime to a lemon" - that's ill, dope, & fly. Click the title for a video, homeboy...

I Will Not Date You If You Don't Like Lindsey Buckingham.

So, this is my first post on this fine blog. I'm appreciative to have been invited to share my simple music opinions with other kindred spirits.

But, enough of that. I kind of feel like this is the point where I jump into my favorite bands, top 5 favorite albums, favorite frontmen, best dance moves, etc.

Well, I would like to, but I've spent too much time as of late trying to figure out why The Killers aren't good anymore to make out any lists like these. (I mean....really, talk about the worst fall off after a solid first album....geez.) But, nonetheless, I can offer a bit. I do love Springsteen. A lot. I'm one of those Springsteen fans. That people tend to hate. I used to love the Who, but then I realized that if Pete Townshend wasn't there, I would hate the Who. So, I got rid of everything (except "Who By Numbers"), and just got all of Pete's solo work. I'm surrounded by a generation that thinks the Beatles were just "ok", and I'm trying not to let it rub off on me, although I now find myself more interested in everyone's post-Beatle efforts. McCartney is my least favorite Beatle (Harrison is the fave), but he made "Band On The Run" after it, so him being annoying can be forgiven. Although I love all forms of music Hip-hop is my first love. I know more about music in general than a lot of folk, but I know more about hip-hop than most folk. I don't apologize for this (other than the whole Soulja Boy fiasco. I think all hip hop fans should apologize for that. So, from the bottom of my heart...I'm sorry.)

And I love Lindsey Buckingham. And my Grandmother thinks that I'm going to be single forever and die alone with 20 cats. I currently have just one cat, though I'm in the market for another... but this all ties together. How?

Recently, my Grandmother set me up on a dreaded blind date with someone who she claimed "loved pop music". I could barely hide my excitement. Long story short, during dinner, this young lady starts to talk about Fleetwood Mac (after she trashed The Clash, so she was already 0/1 with me...), and my ears perk up. I launch into my Lindsey Buckingham speech. Why, he's the most under appreciated pop genius of the past 50 years! He's Brian Wilson with way more coke! I don't even know what the other songs on "Tusk" sound like, because I've only listened to the title track, and the other 9 Lindsey Buckingham songs!, and I still contend that Tusk is one of the greatest albums ever!!!

The girl looks confused, but I don't stop there. Lets go back to "Rumours" (Or, the second best breakup album ever made.). I mean, I like Stevie Nicks just as much as the next guy that likes witchcraft and chiffon gowns, but while she was topping the charts with all of her looks and mystique, he was crafting perfect pop songs. "Secondhand News"? what better way to start an album about breaking up?

The girl smiles and nods, and I think throws in a "yeah..." but am I done? no, not at all. His solo albums? amazing! no one appreciates his solo stuff. Stevie Nicks made god awful solo records (I kind of like Street Angel, but Bella Donna makes me want to vomit), and all the while, Buckingham is churning out genius solo albums. Ok, so maybe he's a bit of a perfectionist. Maybe it takes him 7 years to finish one album....well, quality (and getting good cocaine) takes time, right?

Another passive "yeah, true...." from my date. Forget it. I tell her that this date will end with me giving her a copy of Go Insane (Buckingham's 1984 classic solo effort which is the FIRST greatest breakup album ever made), and she seems indifferent. I was expecting more excitement from this girl who claimed to love pop music.

2 hours later after suffering through a terrible movie, I bring up Buckingham again. At which point, my date says "Ok, I forgot from earlier...which one is she again? She was the keyboard player, right??"

That put her at 0/3 (0/2 came in an incident totally unrelated to music, she poked fun at a pair of shoes I had just purchased that day, and was quite fond of), and we haven't spoken since, although I did lend her....or GIVE her Go Insane as well as Tusk. For educational purposes.

So, to end my first posting, I'll quote Rob Sheffield and say...I know it's wrong to judge a potential date off of her taste in music. But it's served me well.

9 Things That Piss Me Off at Concerts

O.K., I know the title to my post sucks. I tried to think of something witty but it was to no avail. So, I just went straight to the point, which is my usual modus operandi anyway. Here's the deal though. Unlike most of the esteemed RHT contributors, I have been attending concerts since 1973. That's 35-years for you Highland County folk. My first show was Brownsville Station, with Redbone opening. Again, for you younger folk Brownsville Station did the original, and infinitely better, version of "Smokin' in the Boys Room," some 15-years before Motley Crue attempted a lame cover. Redbone is best remembered as a band of American Indians, dressed in full native regalia, who sang "Come and Get Your Love." Great show, but I digress. The main point of my post is that concert etiquette has changed tremendously over the years. Don't get me wrong, I'm a believer that almost anything goes, especially down front. But still . . . a list of my beefs:

• People who sing the words to every single song. Hey, I enjoy a good sing-a-long as much as the next guy, but when I go see Paul McCartney I don't want to hear some 55-year old wannabe groupie singing "Let It Be" louder than Sir Paul. Pick your spots people. These tickets were $274 bucks . . . each.


• Camera phones. For the love of God, put down the freaking phone. I've been behind guys that have videotaped the whole damn show. Are people really going home and watching the concert again on a 2" by 2" screen? (For the record, I just got out a ruler and measured my camera screen. Truth in journalism ya know.) Also, news flash for ya. For those of you who phone your buddy and yell "Listen to this! I'm at Neil's show right now!" then hold up your phone so he can hear? He can't. He can't hear a damn thing except a bunch of white noise. Stop it. Now.


• Losers who bitch about people standing up. You're at a concert, wackbag. People stand up. A lot. You know it's a good show when you stand the entire time, right? Are you with me, people?


• Simpletons who bitch about others passing a joint around. I actually saw a lady summon an usher at a Paul Westerberg show a couple years ago. It's Westerberg, damn it! One of the Replacements! Pot is practically a requirement for that crowd. Plus, there ain't nothing wrong with a contact buzz.


• Jackasses at General Admission shows who get there late and try and muscle their way up front. Advice - if there's an extremely attractive 50-ish 6"2" 210 pound bald guy in front of you, that's where your journey ends. He got there early for that spot and you ain't gettin' by.


• Ass Clowns who constantly text their friends during the show. What could they possibly be saying? You're insulting the band and those around you, plus the light from your phone screen is distracting as hell. Decease and desist.


• Morons who headbang or mosh to the wrong type of music. Buffett? Wrong crowd dude. I mean, "Fins" is a great song, but c'mon. Unless of course you're drinking tequila, then it's anything goes. Then again, I guess everyone drinks tequila at a Buffett show. Disregard.


• Dumbasses who automatically hate the opening band and rip them to shreds. Listen, I know you're here to see Nickelback but those boys up on the stage just might turn into somebody important down the road. Remember that Hendrix once opened for The Monkees. Ya never know . . .


• Freaks who pick up on a band only after they hit it big and scream constantly for one song. I went through this with R.E.M. I'd been going to their shows since 1984 and they finally hit it big around '91. You have no idea how disgusting it is to want to hear some of the old stuff like "Radio Free Europe" and the dolt beside you keeps screaming for "Shiny Happy People." There should be a quiz required before entering the venue. That or an IQ test.

Finally a non-concert related thought. Most of you know that there's a big trend in vintage rock T's nowadays with the young'uns. Hell, you can get a Ramones T in WalMart for the love of God. Well, I'm a teacher so I see tons of kids a day, and I'm fighting back. I, my friends, have a policy. Whenever I see one of these T-Shirts, I pull the kid over to the side. The conversation usually goes something like this:

Me: "Nice shirt."
Kid: "Thanks."
Me: "Pink Floyd, huh? Can you name three of their songs?"
Kid, squinting eyes, looking upward thoughtfully: "No."
Me: "Do you even know what that triangle and prism thingy on the shirt is?"
Kid: "No."
Me: "Go to the locker room and turn it inside out. When you know more about Pink Floyd I'll let you wear the shirt."

Gotta fight the good fight fellas. Remember - they gotta know at least three songs.

True story.

The Beatles will never play again and Van Halen will never reunite

Well, Van Halen was half right...they have reunited the band, almost. Diamond Dave has returned to lead the big haired, tight pants, face melting guitar riffs, and 3 minute drum solos of Van Halen. The band has replaced bass guitarist and back up vocal man Michael Anthony for Eddie's son, Wolfgang Van Halen. The band no longer has the long, big hair or the tight pants, nor parties like the old days but they still can play. I think its cool David Lee Roth has returned to sing the lead vocals for the band but I am a favorite of Sammy Hagar. With Hagar as the front man, Van Halen produced 4 multi-platinum albums. I'm sorry for all you Diamond Dave fans but I'm a sucker for Dreams, Right Now and Top of the World. Granted, I wasn't around in the late 70's and 80's to fully experience or appreciate what is Van Halen but as a music fan I feel "Van Hagar" was better. Although I love Hagar, I would have loved to go see Van Halen at the Schott. My only question is how do they cover their songs that had Hagar as lead man? Hope this was o.k. for my first blog on RHT...

-Kip

Irresistible Bliss - Soul Coughing (A Must Have)

Soul Coughing has been one of my favorite bands for quite some time and if you do not own any of their 3 albums, i highly recommend adding them to your lacking collection..

Irresistible Bliss contains 12 songs that are just amazing... i give 7 of the 12 songs 5 stars and the other 5 are definite 4 stars.. the band is made up of 4 guys.. drums, singer/guitarist, keyboardist, and bassist.. i'm not sure how to spell their names or i'd insert them here.. the drummer is sick... been featured in a few articles of Modern Drummer over the years.. plays some crazy beats and does it on a piece-of-shit drum set.. in most of their songs, you'll hear the keyboardist playing some crazy stuff in the background, which adds that "signature" in my opinion.. the bassist usually plays a big upright bass fiddle looking thing.. these guys are insane..

i love mike doughty (singer) and what he does lyrically.. first off, i totally dig his vocal style-- kind of speaking, kind of singing, all done in a low, growly range...while in college, he studied words, their meanings, how you speak them, and how changing things around can add or take away effect... he reminds me of e.e. cumming in this respect, one of my favorite poets.. much of his lyrics are "out there" a bit, but i think that's what makes this music great.. he has published a couple books of poems that are great to read as well.. he's always thought of himself as a poet and it comes across that way..

"super bon bon" starts off the record.. probably their most well'known song.. "move aside and let the man go through" is the big hook that sticks it to you.. i think the first verse really shows how doughty can put some sick words together..

"if i stole.. somebody else's wave to fly up..
if i rose up or put the avenue behind me
some kind of verb, some kind of moving thing... some thing unseen... some hand is motioning..
to rise, to rise, to rise"

"soft serve" is just a classic, classic song.. totally rocks.. "everybody likes soft serve" and it's true.. great song to chill out to on the deck at night.. when you listen to this song, mosquitos will land to listen too...

"white girl" "soundtrack to mary" and "lazybones" are so worth checking out.. same formula of wild lyrics, solid unorthodox drumming, strange sounds from the keys.. this all makes so much sense to me musically..

"4 out of 5" is doughty at his best.. strange stuff, that is just beautiful.. it starts out with:

"her knees thrust in one direction like a symbol in math, the symbol meaning greater than..
i come recommended by 4 out of 5 on the factor in the whole plan"

(tell your foxy mama that her legs look like the symbol in math for "greater than"-- she'll dig it for sure!!)

"idiot kings" is awesome.. totally worth 99 cents on itunes or wherever.. one of my favorite tunes of any band.. listen to the drum beat.. almost a disco feel with rimshots on that crap snare he has (most live shows, their drummer will have 2 highhats, with one of them comprised of 2 big ride cymbals.. totally wacky)

last song on the disc is a fav of mine too "how many cans".. i've always had this as my message on my phone that pops up when you turn it on.. i think it's just a sick lyric that puts it just how it should be...

"how many cans must i stack up, to wash you out from my mind, out of my consciousness?"

alot of people have thought this same thought over the years, and doughty spells it out perfectly.. it's a great thing to reflect on..

enjoy this record.. i know i have.. ez

Are You a Beatle Or A Rolling Stone?

I heard this song by Delaney Bramlett (Delaney & Bonnie and Friends) the other day, and while the song isn't about asking the listener's musical preferences it does bring up the age old question - are you a Beatle or a Rolling Stone? Delaney's lyrics in this 1972 song are about an Atlanta groupie trying to get a piece of action, insinuating Delaney must either be a member of one band or the other since he "looks familiar." Anyhow, it sparked the question in my head that most of you all have wrestled with at one time or another, whether the Beatles or Stones are the better band.

The Beatles came first - no doubt. They also left first, leaving the Stones to carry on until the present day. The Beatles were the Beatles though, no revolving door of members (we're not counting Pete Best or Stuart Sutcliffe) although each Beatle individually had success as a solo artist. The Beatles were a skiffle group in the beginning, admired American rock n' roll, and made it safe for British acts to show that admiration while in the States. The Beatles became more of a studio-based act later in their career though, eschewing touring for production quality & innovation. Many would say that the Beatles were the most influential rock band in history, and are the benchmark for quality in music that all bands strive to achieve even to this day.

The Rolling Stones broke out of the pack of Beatles followers to the States very early on, mainly when Keith Richards & Mick Jagger began to write their own music instead of covering others. The Stones were an unabashed blues band however, with a harder edge and gruffer exterior. Some called them "The Workingman's Beatles" due to this hard-living persona they portrayed (& lived). Innovatively, however, the Stones always seemed to be a step behind The Beatles in the studio as the embarrasing "Their Satanic Majesties Request" proved. Given this lame attempt to answer "Sgt. Pepper's..." it commenced the rise of the Stones to the pinnacle of their career as they began to produce their own work and tour like no other band. The Stones as a live act pretty much has had no peer since the early 70's, and they are still touring to this day building on this legacy.

There now - that's my take. I could go on & on but you get my drift. I'm a fan of both bands, but for different reasons. As eccelectic as I am in my musical tastes, it pretty much depends on how I'm feeling that day - if I'm happy-go-lucky I'm a Beatle; if I'm struggling & down I go for the Stones. What I want to hear is your take: Are you a Beatle or a Rolling Stone...and why? Submit you comments below while you're checking out our new poll, and generally getting lost in The Black Hole....

Why Johnny Paycheck Sucks

Alright - before all of the Greenfieldians get riled up by my picking on our favorite son, hear me out. I really don't think JP sucks, just needed a segue into my weekly blog. While I haven't had anywhere near the musical run-ins as some of you, I thought this story needed telling. Filo Beddoe boys will enjoy this, I'm certain. It goes like this . . . .

Several years ago (when Filo Beddoe was in its pre-stardom era) we played a birthday party outside of Greenfield. The crowd was mostly locals, rowdy bunch as usual, and after a couple of hours of obscure classic rock and originals, they were ready for some "drinking music." We tried to oblige the crowd, through out a few Skynyrd tunes and such, but that just wasn't enough. Midway through a Doors cover this guy walks up to the stage (and by stage I mean hay wagon). He just kinda stands there, waits for us to finish the song and then proceeds with his question. "Do you guys know any country songs?" An innocent question enough it appeared at the time. We all looked at each other trying to remember the chords to Rawhide or something when our drummer says, "hey, I know a Johnny Paycheck song we could do." Turns out a couple of weekends before we had made an attempt at playing "Old Violin" at a cookout. At this point we looked at each other and seemed to mutually consent to give it a try since at this point in the night we probably could have played Tiny Tim and gotten away with it. However, as we looked back at the dude who made the request we noticed he was just staring at us with an erie, blank look on his face. Maybe he didn't hear us, we think - "hey, we'll do a Paycheck song, how about that?" Again the dude was silent. Only this time, we can tell his expression is changing from dumbfounded stupor to growing irritation. Bordering on full-blown pissed off. This awkward pause finally gives way to an explosion of hillbilly rhetoric that still rings vividly in my ears to this day.

"THAT'S THE SON-OF-A-BITCH THAT SHOT ME!!" In that instant we all realized that we had just suggested to the one-and-only Larry Wise (who was actually shot in the head by Johnny Paycheck in a bar in Hillsboro in the 80's), that we play a Johnny Paycheck song. What are the odds??!! At any rate, the profanity-laced lecture we received following that revalation concerning "who he was" and "you boys must think you're pretty funny, etc" all seems to fade into the background for me now because we were pretty much lost in the hilarity of the situation the rest of the night. I'm not sure we got through one song after that without busting into laughter like a bunch of jr. high girls. I still can't believe it happened to this day.

Needless to say, we didn't do the song.

Random Rock Encounters, Part 3: Bodyguarding Beck

In the Spring of '99 I had a rather interesting experience involving Beck. Here's how it went down.

A buddy of mine, Deano B, used to work for a company in C-Bus that provided concert workers. You know, to take tickets, stuff like that. He asked if I'd be interested in working one of the shows and I said sure, what the hell, might be fun. So, he talks to the folks in charge and they make the approval. Didn't know me from Adam but that didn't seem to bother them. A couple of weeks later I get the call - Beck is playing Veteran's Auditorium and they needed extra workers. Cool. We get there, are given the yellow T-shirts with Security on the back, and then a guy comes in to assign jobs. He goes down the line, grabs Dean and his wife, and tells them they'll be assigned rows to help people get seated. Awesome. They'd get to stand there and watch the show. He looks me up and down and says, "I'll need you in the back" then walks away. Shit. Dean looks at me and says, "Sorry dude. Looks like you're out at the back door or back gate or something. Sorry you won't get to see the show." Oh well. I took a shot, right? Finally the guy comes back for me and says to follow him. I do and we end up in the back, as in backstage. He says, "I want you to stand right here. Let nobody through this door." I look up at the door that says "Beck" on it and ask rather wittily, "You want me to guard Beck's dressing room?" And he sure enough did. Just me, who'd never guarded anything in his life, as the only thing between Beck and the hordes of lunatics wanting a piece of him. I stood there for a couple hours trying to look menacing, the opening act started, and finally some guy walks out the door - Beck's drummer. He sits on the floor across the hallway from me and we proceed to shoot the breeze. A few minutes later another band member comes out and sits down as well. Long story short, pretty soon the whole band was out there, including Beck and his three backup singers. I eventually sit down because they asked me to and I figured it was OK. The only time I froze for a sec was when the drummer asked me what I was currently listening to. I really didn't want to look like an idiot so I said Teenage Fanclub. I breathed a sigh of relief as that answer was met with much approval all around. At that point I believed, perhaps irrationally, that I'd earned instant credibilty. Eventually they all went back inside to get ready, and upon their return I was invited to stand backstage and watch the show. Very cool. To top it off, afterwards Beck requested that I escort him safely to the bus, which I did. Dude must have thought I was a trained professional or something.

Maybe the best part was later, when I met up with Dean and he asked how it was in the back. "Well," I said. "Let me tell you about it . . ."

True story.

The Raconteurs: Consolers Of The Lonely

The Raconteurs, Part Deux!! Jack White, Brendan Benson & co. are back with a surprise follow-up to 2006's Broken Boy Soldiers (the album was only announced a week before its March, 2008 release thanks to an itunes leak). This time out, however, Mr. White does most of the heavy-lifting as it seems as he must have had a few songs left over from the Icky Thump sessions.

Tracks 1 & 2, Consoler Of The Lonely & Salute Your Solution, definitely kick ass and set the bar very high for the rest of the album. Like I said though, it's the wickedness of Jack White that carries these raucous, would-be White Stripes tunes. The rest of the album is so-so. You've got some country, some mariachi horns (like Conquest from Icky Thump - White must be down with the sombrero), some early Styx-like songs (Benson's), & another nice rocker by White in Five On The Five. Completing the cavalcade of musical styles is perhaps what may go down as this album's signature piece: Carolina Drama. Again sung by Jack White, this is a fantastic ballad in the truest meaning of the word. It is a story told like only few can (namely Bob Dylan & Neil Young) about a boy named Billy, his mamma's boyfriend, & the milkman. I won't spoil it for you...you need to listen. Great song - if you liked Dylan's Hurricane, you'll love this one.

Overall, Consolers Of The Lonely is a must have for any White Stripes fanatic (like yours truly) because the bills are being paid by Jack White on this album. Brendan Benson owes his whole fortune to this guy. It's definitely a more raw, unrefined effort - possibly hurried. However, if you don't have the extra cash I'd spend at least $3 or $4 and download the songs I mentioned above. I'm pretty happy with it, but only those few songs will go straight to the ipod - you can take that to the bank, monkeys!! DJ

(Click on the title of this post for a link to the video for Salute Your Solution)